DOCSLIB.ORG

The Family Is the Foundational Social Unit in Which Humans Participate

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Family Is the Foundational Social Unit in Which Humans Participate Safavi: Of Earls, Kings, and Dons Safavi 1 Of Earls, Kings, and Dons: Examining the Interplay between Individual and Collective Interests in Families Amir Safavi, Columbia University The family is the foundational social unit in which humans participate. While a family may have fewer constituents than other social units, such as nations, the family may be more complex, as personal boundaries are blurred by intimacy. The needs and values of individual family members come into conflict not only with each other, but also with the necessities and conventions of the family as a collective entity. Authors and artists have regularly examined the issues and values of their respective societies through the lens of the family dynamic and its associated tensions. In turn, the topics addressed by these authors have served as a lens through which audiences can better understand the complexity of the bonds that bind a family together. William Shakespeare's King Lear and Francis Ford Coppola's film adaptation of Mario Puzo's The Godfather are examples of such texts. Shakespeare's play addresses the dialectic between the natural and the unnatural, with regard to human nature and political legitimacy. Coppola's film sheds light on the immigrant experience in early twentieth century America, the tensions between old world traditions and those of the new country, and the underground Mafia culture of the United States. King Lear presents the Gloucester and Lear families, while The Godfather tells the story of the Corleone family. An analysis of these families suggests that personal interests cannot coexist with conflicting interests of the family. Competition between these interests destabilizes a family, forcing its members to face adverse consequences; only through individual compromise can the family survive. Published by Digital Showcase @ University of Lynchburg, 2012 1 Agora, Vol. 21 [2012], Art. 8 Safavi 2 The Gloucester family is destroyed as a result of the conflict between the desires of Edmund, the Earl's illegitimate son, and the will of the family, which is reinforced by the social conventions of the time. Edmund was born out of wedlock, the second son of Earl Gloucester and younger brother to Edgar. In a conversation with Kent, the Earl says, "I have a son, sir, by order of law, some year elder than this who yet is no dearer in my account..." (1.1.18-19). However much the Earl may love Edmund - as much as he loves Edgar, if not more - the Earl cannot recognize his illegitimate son as a full member of the family. The notion of the family is defined not only by blood ties, but also by the conventions of Britain in the Elizabethan era. Thus, Edmund cannot be an heir to either his father's title or his power. At the same time, Edmund's values are in stark contrast with the will of the family: "Thou, Nature, art my goddess; to thy law / My services are bound. Wherefore should I / Stand in the plague of custom, and permit / The custody on nations to deprive me / . ..why brand they us with base?" (1.2.1-10). Legitimacy, either as a result of bloodlines or of primogeniture, holds no meaning for Edmund. Edmund believes that power should be his because of natural right, by the value of his own merits, and he rejects the notion that this power should be assigned by unnatural, human- made conventions. After setting his plot into motion and deceiving his brother and father, Edmund states, "Let me, if not by birth, have lands by wit; / All with me's meet than I can fashion fit" (1.2.181­ 182). Edmund's cause can be sympathetic, as it reveals not only a personal ambition but also a need to be recognized for more than the value assigned to him by the world in which he lives. A reader may sense a moment of irony when Edmund exclaims: "Now, gods, stand up for bastards" (1.2.22), for Edmund circumvents social conventions and relies on his own initiative https://digitalshowcase.lynchburg.edu/agora/vol21/iss2012/8 2 Safavi: Of Earls, Kings, and Dons Safavi 3 to elevate his situation. The issues lies with what he must do to realize his vision. The obstacles Edmund must overcome are not just faceless social norms or impersonal authorities; he must overcome the familial bonds he has with his brother and father, going as far as deceiving his brother and leading his father to his death. His brutal and selfish actions instigate the destruction of his family and, ultimately, his own destruction. Edmund does not seek compromise between his own and his family's needs: Edmund wants his will to dominate. Likewise, the Lear family is destroyed by the conflict between the needs of the individual and the needs of the collective. In this case, there are multiple personal agendas competing with each other, clouding any sense of a collective will or family unity. In the first scene of the play, the King distributes his land and power among his three daughters: Goneril, Regan and Cordelia: "...'tis our fast intent / To shake all cares and business from our age, / Conferring them on younger strengths while we / Unburdened crawl toward death" (1.1.38-41). Lear passes on the responsibilities of leadership to his daughters, yet he wishes to maintain the respect and trappings of royalty, "[managing] those authorities / That he hath given away" according to Goneril (1.3.17-18). In confronting Goneril and Regan over their decision to strip him of his garrison of soldiers, Lear accuses them of showing disrespect to their father. Lear appears to muddle a familial obligation with a regal obligation that the daughters are no longer bound by since he has renounced the throne. In turn, Goneril and Regan begin to act only in their own best interests, driven by greedy ambition. They ruthlessly allow their father to wander into the storm and are driven to fight each other for personal gain, to the point where Goneril poisons Regan in order to gain the passion and political allegiance of Edmund. Published by Digital Showcase @ University of Lynchburg, 2012 3 Agora, Vol. 21 [2012], Art. 8 Safavi 4 Cordelia has no agenda per se, acting with honesty and serving as the model for purity by the end of the play. Nevertheless, the reader can still question the validity of her actions. While dividing his kingdom, King Lear challenges his daughters to declare which one of them loves him the most. Goneril and Regan joust with each other, excessively professing their love for their father. Cordelia, on the other hand, gives a sobering response: "Unhappy that I am, I cannot heave / My heart into my mouth. I love your majesty / According to my bond, no more nor less" (1.1.91-93). In turn, the King disowns Cordelia. Should she have told a falsehood, feigning immeasurable love for her father, as a sign of respect for him and the conventions of the family? Clearly, much of the blame for the fallout between Lear and Cordelia lies with the King, for he values flattery from Goneril and Regan over true feelings from his youngest daughter. Eventually, the King realizes that Cordelia was offering the most sincere love, and Cordelia forgives him, strengthening the family, though much too late. Still, should Cordelia not have compromised her integrity for a more civic cause? Ultimately, the entire Lear family - the King, Cordelia, Goneril and Regan - is destroyed. Each member of the family upholds his or her own personal values to the detriment of the collective; even Cordelia, with the best of intentions, is a factor in the destabilization of the family. The competition between their desires results in the Lear family lacking a sense of collective interest or familial will. Such a thing would require compromise from each member of the family: the King understanding that he cannot give power to his daughters and still command regal authority, Goneril and Regan appeasing their father's wish despite the inconvenience, and Cordelia making an exception to her truthful integrity and granting her father a moment of flattery. Only with these compromises can a familial need be identified and https://digitalshowcase.lynchburg.edu/agora/vol21/iss2012/8 4 Safavi: Of Earls, Kings, and Dons Safavi 5 strived for. Without it, there is no cohesion among the family members. Without it, there is no family. Likewise in The Godfather, the expression of personal desires nearly destroys the Corleone family. However, compromise ultimately saves and restores the integrity of this family. The Corleone family consists of both the family that the members belonged to by birth - their blood relatives - as well as the one they belong to by choice - the Mafia. In a meeting with Virgil Sollozzo, Vito Corleone, the patriarch of the family, expresses the will of the family by declining Sollozzo's offer to enter into the narcotics business. When Sollozzo assures Vito that the Corleone investment would be protected by the Tattaglia family, Sonny, Vito's heir, inadvertently reveals his thoughts: "Aw, you're telling me that the Tattaglias guarantee our investment?" (The Godfather). With the slip, Sonny reveals that there is division within the family in regard to the deal. Armed with this knowledge, Sollozzo plans to assassinate Vito in order to negotiate with Sonny to reach an agreement over the narcotics business. With Vito in the hospital, Sonny becomes the next Don Corleone and escalates a full scale war between the Five Families of New York. His actions are driven by personal desires for revenge and are not balanced by the needs of the family.
Load more

Recommended publications
  • The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli
    Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli Author: Marissa Sangimino Persistent link: http://hdl.handle.net/2345/bc-ir:104214 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2015 Copyright is held by the author, with all rights reserved, unless otherwise noted. ! ! ! ! ! ! ! ! Rewriting the Mafioso: The Gangster Hero in the Work of Puzo, Coppola, and Rimanelli By Marissa M. Sangimino Advisor: Prof. Carlo Rotella English Department Honors Thesis Submitted: April 9, 2015 Boston College 2015 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ACKNOWLEDGMENTS!! ! ! I!would!like!to!thank!my!advisor,!Dr.!Carlo!Rotella!for!the!many!hours!(and!many!emails)!that!it! took!to!complete!this!thesis,!as!well!as!his!kind!support!and!brilliant!advice.! ! I!would!also!like!to!thank!the!many!professors!in!the!English!Department!who!have!also! inspired!me!over!the!years!to!continue!reading,!writing,!and!thinking,!especially!Professor!Bonnie! Rudner!and!Dr.!James!Smith.! ! Finally,!as!always,!I!must!thank!my!family!of!Mafiosi:!! Non!siamo!ricchi!di!denaro,!ma!siamo!ricchi!di!sangue.! TABLE OF CONTENTS Introduction.........................................................................................................................................1-3 CHAPTER ONE: The Hyphenate Individual ..............................................................................................................4-17 The
    [Show full text]
  • Cases and Materials on the Outfit
    Rosen: Cases and Materials on The Outfit David Rosen Don Corleone to Sonny, in The Godfather The Don sighed. "Well, then I can't talk to you about how you should behave. Don't you want to finish school, don't you want to be a lawyer? Lawyers can steal more money with a briefcase than a thousand men with guns and masks. " Robert Warshow, in "The Gangster as Tragic Hero" Thus, the importance of the gangster film, and the nature and intensity of its emotional and esthetic impact, cannot be measured in terms of the place of the gangster himself or the importance of the problem of crime in American life. Those European movie-goers who think there is a gangster on every comer in New York are certainly deceived, but defenders of the "positive" side of American culture are equally deceived if they think it relevant to point out that most Cases and Materials Americans have never seen a gangster. What matters is that the experience of the gangster as an experience of on art is universal to Americans. There is almost nothing we understand better or react to more readily or with The Outfit quicker intelligence. This night, though, Pam had a different tale to tell. She announced that she and her friend Annie, the daughter of a prize-winning biologist, had gone to see "The Godfather," that they had been so deeply moved that, instead of going home, she'd gone tripping around town in search of the Mafia. I remember one night Pam showed up at the House at "The Mafia!" three in the morning.
    [Show full text]
  • Cover Skripsi Jadi
    THE REPRESENTATION OF MARIO PUZO'S LIFE BACKGROUND IN THE SETTING OF THE GODFATHER AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DEBIE KHARISMAWATI Student Number: 054214055 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2010 THE REPRESENTATION OF MARIO PUZO'S LIFE BACKGROUND IN THE SETTING OF THE GODFATHER AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DEBIE KHARISMAWATI Student Number: 054214055 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2010 i ii iii What am I to you.... tell me darling true To me you are the sea.... fast as you can be And deep the shade of blue When you're feeling low.... to whom else do you go See I cry if you hurt.... I'd give you my last shirt Because I love you so If my sky should fall.... would you even call Opened up my heart.... I never want to part I'm giving you the ball When I look in your eyes..... I can feel butterflies I love you when you're blue.... tell me darling true What am I to you..... (What Am I To You by. Norah Jones) iv For My Beloved Parents v ACKNOWLEDGEMENTS I am so excited that finally I can finish my thesis and my four years' education in Sanata Dharma University. I can not go through all of those years without the help from all of the people who supported me.
    [Show full text]
  • Influence of Michael Corleone's Personalities on His Relationship
    Advances in Social Science, Education and Humanities Research, volume 497 Proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020) Influence of Michael Corleone’s Personalities on His Relationship With Other Characters in Trilogy of The Godfather Longhe Cao Shenzhen Middle School, Shenzhen, Guangdong 518034, China *Corresponding author. Email: [email protected] ABSTRACT Analyzing the personalities and relationship of the characters is an effective method for both the professionals and the ordinary audience to comprehend movies. By discovering and explaining how Michael Corleone in The Godfather influences his relationship with other characters, this dissertation is aimed at assisting readers to fully comprehend the essence of movies in detail. This paper utilizes the method which extracts a variety of conflicts and major transitions between Michael and other characters to reflect how Michael’s personalities work on these relationships. Based on the facts in the movie, Michael demonstrates different attitudes to his family members and the outsiders of his family. It will be helpful for the audience if there are researches which can deeply analyze a more well-rounded image of Michael’s Corleone, besides analyzing his relationship and personalities appears in the future. This paper finally concludes that Michael’s personalities cause him to have completely different relationships with two types of character, as the family members and the outsiders. Keywords: Personalities, relationship, influence, gangster, Godfather 1. INTRODUCTION 2. OVERVIEW OF MICHAEL CORLEONE’S PERSONALITIES The Godfather, as a classic and representative Italian gangster movie, reflects the conflicts between Corleone Overall, Michael has two types of personalities, including family and other forces in United States as well as the stable personalities and the variational personalities.
    [Show full text]
  • 2. the Godfather Returns.Pdf
    The Godfather Returns Mark Winegardner alla mia famiglia "Whoever forsakes the old way for the new knows what he is losing, but not what he will find. " Sicilian proverb "They were killing my friends." AUDIE MURPHY, most decorated U.S. soldier of World War II, when asked how he had found the courage to fight an entire German infantry company *The Godfather II also covers the early life of Vito Corleone (1910-1939) in flashback scenes. **The second half of The Godfather Returns also covers the early life of Michael Corleone (1920-1945) in flashback scenes. THE CORLEONE FAMILY Vito Corleone, the first godfather of New York's most powerful crime family Carmela Corleone, Vito Corleone's wife and mother of their four children Sonny Corleone, Vito and Carmela Corleone's oldest son Sandra Corleone, Sonny's wife, now living in Florida Francesca, Kathy, Frankie, and Chip Corleone, Sonny and Sandra Corleone's children Tom Hagen, consigliere and unofficially adopted son Theresa Hagen, Tom's wife and mother of their three children Andrew, Frank, and Gianna Frederico "Fredo" Corleone, Vito and Carmela's second-born son (underboss 1955-1959) Deanna Dunn, Oscar-winning actress and Fredo's wife Michael Corleone, Vito's youngest son and the reigning Don of the Corleone Family Kay Adams Corleone, Michael's second wife Anthony and Mary Corleone, children of Michael and Kay Corleone Connie Corleone, Vito and Carmela's daughter Carlo Rizzi, Connie Corleone's deceased husband Ed Federici, Connie Corleone's second husband THE CORLEONE FAMILY ORGANIZATION Cosimo "Momo the Roach" Barone, soldato under Geraci and nephew of Sally Tessio Pete Clemenza, caporegime Fausto Dominick "Nick" Geraci, Jr.
    [Show full text]
  • Img2.Timeinc.Net/Ew/Img/Review/000707/Mario L.Jpg
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI FAMILY LOYALTY OF THE CORLEONE FAMILY IN MARIO PUZO’S THE GODFATHER A Thesis Presented as Partial Fulfilment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Priska Fitri Yuaningtyas Student Number: 031214121 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTEMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHER TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 2 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI 3 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI iv 4 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI DEDICATION PAGE “Setiap kamu punya mimpi atau keinginan atau cita-cita, kamu taruh di sini, di depan kening kamu...jangan menempel. Biarkan dia menggantung, mengambang 5 sentimeter di depan kening kamu…Jadi dia ga akan pernah lepas dari mata kamu. Dan kamu bawa mimpi dan keyakinan kamu itu setiap hari, kamu lihat setiap hari, dan percaya bahwa kamu bisa. Apapun hambatannya, bilang sama diri kamu sendiri, klo kamu percaya sama keinginan itu, dan kamu nggak bisa menyerah. Bahwa kamu akan berdiri lagi setiap kamu jatuh, bahwa kamu akan mengejarnya sampai dapat, apapun itu, segala keinginan, mimpi, cita-cita, keyakinan diri… Biarkan keyakinan kamu, 5 sentimeter menggantung, mengambang di depan kening kamu. Dan, sehabis itu yang kamu perlu cuma… Cuma kaki yang akan berjalan lebih jauh dari biasanya, tangan yang akan berbuat lebih banyak dari biasanya, mata yang akan menatap lebih lama dari biasanya, leher yang akan lebih sering melihat ke atas, lapisan tekad yang seribu kali lebih keras dari baja, dan hati yang akan bekerja lebih keras dari biasanya, serta mulut yang akan selalu berdoa… Dan kamu akan selalu dikenang sebagai orang yang masih punya mimpi dan keyakinan, bukan cuma seonggok daging yang hanya punya nama… Percaya pada 5 sentimeter di depan kamu…” By: Dhonny Dirgantara The author of “5 cm” Kita lahir dengan dua mata di depan wajah kita, karena kita tidak boleh selalu melihat ke belakang.
    [Show full text]
  • The Godfather Study Guide
    OSCAR WINNER 1972: Best Picture Best Actor Best Adapted Screenplay TEACHERS’ NOTES This study guide is aimed at students of GCSE Media Studies, A’Level Film Studies and GNVO Media: Communication and Production (Intermediate and Advanced). Specific areas of study covered by the guide are those of genre, representation and the issue of violence in film. The Godfather: Certificate 18. Running Time 175 minutes. MAJOR CREDITS FOR THE GODFATHER The Godfather 1972 (Paramount) Producer: Albert S. Ruddy Director: Francis Coppola Screenplay: Mario Puzo, Francis Coppola Director of Photography: Gordon Willis Editors: William Reynolds, Peter Zinner Music: Nino Rota Art Director: Dean Tavoularis Cast: Marion Brando Al Pacino James Caan Richard Conte Robert Duvall Sterling Hayden Oscars 1972: Best Picture Best Actor (Marion Brando) Best Adapted Screenplay Oscar Nominations 1972: Best Director Best Supporting Actor (James Caan, Robert Duvall, Al Pacino) Best Music [later declared incligiblel Best Costume Design Best Editing Best Sound © Film Education 1 THE GODFATHER Coppola’s The Godfather was the direct descendant of dozens of gangster movies made with stars like Cagney and Edward C. Robinson. But there was a vital difference. Its examination of the Corleone family had a consistently human dimension that made the evil of the Mafia, who loved it for the wrong reasons, all the more horrendous. As a study of evil, it was all the better for assuming that such darkness emanated not from dyed-in-thewool villains but out of some of the family values we now most cherish. Added to that, of course, was the brilliance of its making, with Gordon Willis’ photography and Nino Rota’s score adding to Coppola’s fine orchestration of a terrific cast.
    [Show full text]
  • The Reflection of Successful American Dream Through the Character of Michael Corleone in Mark Winegardner’S the Godfather Returns
    THE REFLECTION OF SUCCESSFUL AMERICAN DREAM THROUGH THE CHARACTER OF MICHAEL CORLEONE IN MARK WINEGARDNER’S THE GODFATHER RETURNS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DODI ROSYID SAPUTRA Student Number: 034214064 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 THE REFLECTION OF SUCCESSFUL AMERICAN DREAM THROUGH THE CHARACTER OF MICHAEL CORLEONE IN MARK WINEGARDNER’S THE GODFATHER RETURNS AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By DODI ROSYID SAPUTRA Student Number: 034214064 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 i ACKNOWLEDGEMENTS My first and greatest gratitude goes to Allah SWT who has given me life, power, guidance and everything so I can stand still till this second and by his blessing and guidance I can finish my study and my thesis. This thesis is dedicated to my beloved mother and father who always pray for my success, encourage me and support me emotionally, spiritually, and financially. My gratitude also goes to my advisor Paulus Sarwoto, S.S., M.A. who has given me big help and support during the writing of my thesis. I would like to thank to J. Harris Hermansyah S., S.S., M.Hum. and Ni Luh Putu Rosiandani, S.S., M.Hum. for the critical corrections and suggestions. My warmest thanks go to my older sister Debie and my best friend Budi. Thanks to Mbak Debie for accompanying and supporting me during my hard time in writing this thesis and to Budi for the support and our friendship.
    [Show full text]
  • The Godfather (1972) Screenplay by Francis Ford Coppola
    THE GODFATHER Screenplay by Mario Puzo Francis Ford Coppola Based on a Novel by Mario Puzo 1 FADE FROM BLACK INT. DON CORLEONE'S HOME OFFICE – DAY BONASERA (seated in front of the Don's desk, facing the camera) I believe in America. America has made my fortune. And I raised my daughter in the American fashion. I gave her freedom, but I taught her never to dishonor her family. She found a boyfriend; not an Italian. She went to the movies with him; she stayed out late. I didn't protest. Two months ago, he took her for a drive, with another boyfriend. They made her drink whiskey. And then they tried to take advantage of her. She resisted. She kept her honor. So they beat her, like an animal. When I went to the hospital, her nose was a'broken. Her jaw was a'shutted, held together by wire. She couldn't even weep because of the pain. But I wept. Why did I weep? She was the light of my life ... beautiful girl. Now she will never be beautiful again. Bonasera breaks down. The Don gestures to Sonny to give Bonasera a drink. BONASERA Sorry... Bonasera, taking the drink, sips from the shot glass. BONASERA I-I went to the police, like a good American. These two boys were brought to trial. The judge sentenced them to three years in prison ... suspended sentence. Suspended sentence! They went free that very day! I stood in the courtroom like a fool. And those two bastard, they smiled at me.
    [Show full text]
  • The Godfather
    1/30/2019 Godfather BG | GM Binder THE GODFATHER CHAIR: EMILY PALERMO CO-CHAIR: JESS BENNETT CRISIS DIRECTOR: BRENT VAN VILET MODEL UNITED NATIONS FEBRUARY 21-24, 2019 AT CHAPEL HILL UNIVERSITY OF NORTH CAROLINA https://www.gmbinder.com/documents/print/-LWDbuG5n73w_gNnyhVa 1/10 This is unofcial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the 1/30/2019 Godfather BG | GM Binder A WORD FROM YOUR GODFATHER: So you’ve come into my conference room, on the day that I One of the most contested issues in the Maa world at this am to hold my committee, and you ask me to put you on my time is drug trafcking, which Don Corleone disapproves of crisis committee? And you don’t even think to call me and opposes, while many other families see it as an Godfather. opportunity to vastly increase their wealth. Over the last Greetings delegates, and welcome to The Godfather crisis several years, a bitter rivalry has also grown between committee of MUNCH XIX. We eagerly look forward to Corleone and Philip Tattaglia, don of the Tattaglia family, and meeting and working with all of you this coming February, the two men dislike each other intensely. The hope is that whether you are a newcomer to Model UN or a veteran, and this Commission meeting can put to rest, peacefully, this hope everyone enjoys and learns something about the MUN delicate matter and prevent an all-out war among the process over this weekend during our crisis committee. families, but in a situation as precarious as this, any wrong Now to set the stage for this committee.
    [Show full text]
  • Mario Puzo's the Godfather As Business Allegory
    Západočeská univerzita v Plzni Fakulta filozofická Bakalářská práce Mario Puzo’s The Godfather as Business Allegory Hana Štětková Plzeň 2019 Západočeská univerzita v Plzni Fakulta filozofická Katedra anglického jazyka a literatury Studijní program Filologie Studijní obor Cizí jazyky pro komerční praxi Kombinace angličtina – francouzština Bakalářská práce Mario Puzo’s The Godfather as Business Allegory Hana Štětková Vedoucí práce: PhDr. Ivona Mišterová, Ph.D. Katedra anglického jazyka a literatury Fakulta filozofická Západočeské univerzity v Plzni Plzeň 2019 Prohlášení Prohlašuji, že jsem práci zpracovala samostatně a použila jen uvedených pramenů a literatury. Plzeň, duben 2019 ............................................... Hana Štětková Poděkování Mé poděkování patří především PhDr. Ivoně Mišterové, Ph.D. za odborné vedení, entuziasmus, laskavý přístup, cenné rady, trpělivost a ochotu, které mi v průběhu zpracování této bakalářské práce věnovala. Table of Contents 1 Introduction ........................................................................................................... 1 2 Mario Puzo’s Biography ..................................................................................... 3 2.1 Birth of a Classic ................................................................................... 3 2.2 Mario Puzo's Life ................................................................................... 3 2.3 Writing Career ....................................................................................... 4 2.4 Bright Mind
    [Show full text]
  • The Struggle of Mafia Family in Maintaining Prosperity in the Godfather (1972)
    THE STRUGGLE OF MAFIA FAMILY IN MAINTAINING PROSPERITY IN THE GODFATHER (1972) A THESIS In Partial Fulfillment of the Requirements for the Bachelor Degree Majoring in American Cultural Studies in English Department Faculty of Humanities Diponegoro University Submitted by RIZQI YULIAWATI 13020112130029 FACULTY OF HUMANITIES DIPONEGORO UNIVERSITY SEMARANG 2019 i PRONOUNCEMENT The writer honestly confirms that she compiles this thesis entitled “The Struggle of Mafia Family in Maintaining Glory in The Godfather (1972)” by herself and without taking any results from other researchers in S-1, S-2, S-3 and in diploma degree of any university. The writer ascertains also that she does not quote any material from other publications or someone’s paper except from the references mentioned. Semarang, September 2019 Rizqi Yuliawati ii MOTTO AND DEDICATION َفإِ َّن َم َع ا ْلعُ ْس ِر يُ ْس ًرا . إِ َّن َم َع ا ْلعُ ْس ِر يُ ْس ًرا “So verily with the hardship there is relief, verily with the hardship there is relief.” Q.S. Al - Insyirah (94) : 5-6 “Never explain yourself to anyone, because the one who likes you would not need it, and the one who hates you would not believe it.” Ali bin Abi Thalib “The reality is: sometimes you lose. And you’re never too good to lose. You’re never too big to lose. You’re never too smart to lose. It happens.” Beyonce This thesis is proudly presented to my beloved family and friends. Thank you for supporting me endlessly and giving me so much love. I am forever grateful and I will treasure it all my life.
    [Show full text]